Old Master and Nineteenth-Century Drawings
January 22 - February 5, 2016
Click images to toggle info
1596 – Coburg – ca. 1621
A Miracle of San Francesco di Paola (recto); Figure Studies (verso)
pen and black ink, brown wash, white heightening on light ocher prepared paper; 185 x 300 mm
inscribed P. Pr in the lower left corner in brown ink in an eighteenth-century hand (rec-to); fragmentary inscription in German at the cut edge of the sheet ending … [s]ynod’ (verso)
ALESSANDRO DI ANDREA CASOLANI
1552 Mensano, Casole d’Elsa – Siena 1607
Samson and Delilah
red chalk with touches of black chalk; 153 x 220 mm
workshop of GIULIO ROMANO
1499 Rome – Mantua 1546
Adoration of the Magi 1530
pen and brown ink with wash and white heightening on prepared light-brown paper, squared in pencil and red chalk; tipped at left onto an eighteenth-century album sheet 270 x 345 mm (10 5/8 x 13 1/2 inches)
annotated in pen and ink in the upper left corner of the verso of the sheet Bb / No 46, further inscribed above Polidoro, again above center Polidoro da Caravaggio, and at lower center Fran del Borgo
Jan Pietersz. Zoomer, Amsterdam (Lugt 1511)
Sir Francis Ferrand Foljambe (1750–1814), Osberton Hall, Scofton near Worksop, Nottinghamshire;
thence by descent
FLEMISH, first half of the seventeenth century
Allegories of Temperance and Prudence (after figures by RAPHAEL)
pen and brown ink with wash and white heightening, laid down on an eighteenth-century mount; 268 x 210 mm (10 1/2 x 8 1/4 inches)
The mount inscribed below by Richardson Rubens.
Jonathan Richardson, sr. (1665–1745), London (his drystamp Lugt 2184; on verso of mount in pen and ink his shelf marks P. 96./ Zg. 94./ LL. 16.) Sir Francis Ferrand Foljambe (1750–1814), Osberton Hall, Scofton near Worksop, Nottinghamshire; thence by descent
1578 Bologna – Rome 1660
Mars Seated on Clouds (Study for a Pendentive in the Loggia of the Palazzo Verospi in Rome) ca. 1611–12
pen and brown ink on blue paper; 165 x 131 mm numbered 184 on the old mount
1741 Cork – London 1806
Drawing after Raphael 1766–1770
pen and brown ink on thin laid paper, mounted on a thicker sheet; 274 x 212 mm (10 13/16 x 8 3/8 inches)
annotated in pen and ink: James Barry, Rome: a study in the Ghigi Villa / Raphael Pinx.; added in a slightly darker ink: taken through the Glass / I.P.[inverted “v”]; another annotation in pencil, probably by the same hand, on the support sheet below: The Graces
The drawing copies one of the lunettes showing Cupid and the Three Graces in Raphael’s Loggia of Psyche in the Villa Farnesina in Rome.
The annotations below are in the hand of Francis Douce, an executor of Barry’s estate. The drawing must therefore have come from the posthumous estate sale; Douce evidently considered it important enough to annotate the work at least twice
We know from Barry’s letters that when he was in Italy he used some type of mechanism to aid him in the copying of old-master compositions and in the delineation of landscapes. A comparison between the original Roman frescos and Barry’s drawing reveals, however, that he did not copy Raphael’s fresco directly but instead must have traced this composition from Marcantonio Raimondi’s engraving after the fresco (Bartsch 344). Indeed, the details in which the print deviates from the painting are all faithfully reproduced in the drawing here. Douce’s annotation “through the glass” must therefore refer to the manner in which Barry made the drawing: by putting the print on a sheet of glass, laying a thin sheet of paper on top of it, and then tracing the outlines as the glass was held against the light.
ROME, ca. 1550–60
Fortuna / Abundantia
pen and brown ink with wash and extensive white heightening over pencil on light-brown prepared paper; 272 x 155 mm (10 3/4 x 6 1/8 inches)
inscribed by Richardson on a cartellino pasted on the mount below Polidoro
Jonathan Richardson, Sr. (his dry-stamp Lugt 2184; on verso of mount his shelf marks in pen and ink N. 12. / E. 29. [further annotations crossed out] / b. 46. / Zl. 25. / Zi. 15. / Zf. 21. Sir Francis Ferrand Foljambe (1750–1814), Osberton Hall, Scofton near Worksop, Nottinghamshire; thence by descent
BARON ANTOINE-JEAN GROS
1771 Paris – Meudon 1835
Ulysses Killing the Suitors of Penelope ca. 1798
black chalk, pen and brown ink, brown and grey wash heightened with white; 157 x 219 mm (6 3/16 x 8 5/8 inches)
Gros entered the studio of David as a pupil in 1785. He was a final competitor for the Prix de Rome in 1792 but did not win. He nevertheless set out to Italy early the following year. His main financial support came from portrait commissions. Due to the uprising against the French in Rome in 1793 he did not find it safe to go there and instead went to Genoa where he stayed with Girodet. In 1796 Gros was introduced to Josephine and later that year met Napoleon in Milan. The success of his painting depicting Bonaparte on the Bridge at Arcole, November 17, 1796 of 1801 (now at Versailles) established the artist’s reputation. He further held a position on Napoleon’s committee in charge of inspecting works in conquered cities in Italy and remove them to the Musée du Louvre. Gros could return to Paris only in 1800 but had been eager to move away from his portrait commissions and participate in the revival of painting in France in the wake of the Revolution, working on ideas for various grand history paintings, many of them never executed.
It is therefore not surprising that there is no trace in the literature of a painting by Gros showing Ulysses Killing the Suitors of Penelope; it is also apparent that the opportunity to depict a highly dramatic composition must have drawn the artist to this subject. The present sheet is closely related to an oil sketch of this theme datable to circa 1798, which was formerly in the Seligman collection (see J. Richardson, The Collection of Germain Seligman, New York 1979, no. 29 with ill.) which in turn was probably intended as preparation for a larger painting. A stylistically comparable drawing by Gros is at Besançon, Musée des Beaux-Arts (A. Sérullaz, Le Néoclassicisme français, exh. cat., Grand Palais, Paris, 1975, no. 75).
1555 – Florence – 1630
Abraham Rescuing Lot, with a Battle Raging Behind, and a Procession of Camels and the City Walls in the Distance
pen, black and black-gray ink and gray wash; 114 x 157 mm
inscribed 3a in black chalk at lower left corner
1555 – Florence – 1630
Abraham, Melchisadek, and the King of Sodom
pen, black and black-gray ink and gray wash; 113 x 152 mm mm
inscribed 3 in black chalk at lower left corner
GIOVANNI BATTISTA MAURO DELLA ROVERE, called IL FIAMMENGHINO
ca. 1560/61 – Milan – 1627
Christ Carrying the Cross with Saint Veronica ca. 1618
pen and brown ink with brown wash and white heightening, squared for transfer, on blue paper; 233 x 260 mm (9 3/16 x 10 1/4 inches)
Thomas Le Claire Kunsthandel, catalogue 3: Handzeichnungen alter Meister 1500–1800, November/December 1985, no. 13
private collection, Germany
Giovanni Battista Mauro and his younger brother of Giovanni (1575–1640) were both known as “I Fiammenghini” due to their Flemish ancestry. They were leading figures in early seventeenth-century Lombard art. Among their earliest commissions was a fresco cycle on the life of Saint Carlo Borromeo for the Duomo in Milan which they executed jointly between 1602 and 1604. Giovanni Battista continued to work mainly on the decoration of churches and monasteries in Milan at its environs.
A comparison with a dated drawing of 1618 formerly in the Ratjen collection suggest a similar date for this highly finished modello (Stiftung Ratjen: Italienische Zeichnungen des 16.–18. Jahrhunderts, exhibition catalogue, Munich/Berlin/Hamburg/Düsseldorf/Stuttgart, 1977–78, no. 18).
GEORG LUDWIG VOGEL
1788 Zürich 1879
View on the town of Fribourg Around 1820/1821.
Watercolor over black pen. 430 x 710 mm.
1792 Großschönau near Zittau – Dresden 1866
La Scuola di Virgilio 1829
watercolor over pen and ink with traces of pencil on laid paper; 305 x 473 mm (12 x 18 5/8 inches)
annotated in pencil at upper right La scola de Virgil 22 Junij 29.; in pen and ink nello Camerolle
estate of the artist (according to a pencil inscription on verso)
Dr. Franz Ulrich Apelt, Zittau
thence by descent
The Scuola di Virgilio is a rock formation near Posillippo. The English poet Percy Bysshe Shelley (1792–1822) had visited it a decade before Wentzel on a boat trip in the Bay of Naples. In a letter of December 1818 the poet writes: “We passed Posillippo and came first to the eastern point of the bay of Pozzuoli, which is within the great bay of Naples, and which again incloses [sic] that of Baiae. Here are lofty rocks and craggy islets, with arches and portals of precipice standing in the sea, and enormous caverns, which echoed faintly with the murmur of the languid tide. This is called La Scuola di Virgilio.” Wentzel’s pristinely preserved watercolor captures the dark-blue hues of the sea and the bright ocher of the rocks in Technicolor brilliance, evoking the warmth of an early summer day with the view of Mount Vesuvius in the far distance. As Shelley further observes in the same letter: “The colours of the water and the air breathe over all things here the radiance of their own beauty.”
It is worth pointing out that Wentzel used some of the finest watercolor paper to execute this sheet. The Canson Papermill traces its history back to the sixteenth century. By 1801 it had joined with Montgolfier, another prestigious French mill, and Canson & Montgolfier continued to produce renowned papers that were especially sought after by watercolorists.
1810 Dresden – Naples 1895
Village Scene in Lacco Ameno on Ischia 1857
pencil on wove paper; 233 x 330 mm (9 3/16 x 13 inches)
annotated, signed, and dated Lacco auf Ischia 1857 Sept.
PROVENANCE (according to an annotation on the verso)
Count von Bredow, Potsdam
Karl & Faber, Munich, sale 66, November 3–4, 1958, lot 283
Kurt Hammelsbeck, Cologne
Hauschild began his training as an architect in 1826 at the Dresden Academy. He remained an assistant teacher there from 1838 to 1852. He visited Rome three times: in 1833, 1841, and 1846. After quitting his teaching post he went back and forth between Dresden and Rome, ultimately settling permanently in Naples. A regular participant at exhibitions in Rome, Hauschild specialized in architectural views, focusing on buildings from the Gothic and Romanesque as well as the early Christian periods.
Our drawing depicts a small square in Lacco Ameno on the northern coast of Ischia with a view on the Monte Epomeno in the distance. One may safely say that all the expectations of the northern viewer of such a scene are fulfilled here: in the shade to the left, women come together to do their needlework; a mendicant monk enters the scene in the foreground; and the right half of the composition is filled with figures eating grapes and drinking wine—appropriate for the month of September when this drawing was executed. Not surprisingly, given Hauschild’s architectural training, all the details of the modest rural architecture are carefully rendered, with even the cupola of a church visible beyond the pergola to the left. The drawing convincingly evokes the afternoon light of a late-summer day in southern Italy.
JOHANN JAKOB SCHALCH
1723 Schaffhausen 1789
View of a Village seen through a Leafy Arch in an Open Landscape
Black and gray brush. Signed: J J Schalch/Schalch.
240 x 400 mm
JOHANN CONRAD STEINER
Winterthur 1757 – 1818 Tägerwilen
Wooded ideal Landscape with Shepherd
Castle on a Rock and a Mountain in the Background. Sepia watercolor. Trimmed and mounted.
518 x 419 mm
1730 Zürich 1788
Wooded landscape with a Shepherd sitting at the Stream - Edge of a Wood with a Stream
Each signed and dated "S. Gessner. f. 1766". Black pen, grey wash and heightened in white. Each around 233 x 201 mm
1730 Zürich 1788
Wooded landscape with a Shepherd sitting at the Stream - Edge of a Wood with a Stream
Each sign. and dated "S. Gessner. f. 1766“. Black pen, grey wash and heightened in white. Each around 233 x 201 mm.
1839 – Dresden – 1904
Autumn Landscape in the Erzgebirge 1868
watercolor over pencil on wove paper; 200 x 275 mm (7 7/8 x 10 7/8 inches)
signed in pen and ink with monogram and annotated at lower left Kupferberg 1. Oktober. 68
Unlike many other artists who would mine their Italian sketches in landscape paintings for many years, Müller painted only very few Italian motifs after his return to Dresden in December 1866. Still following his teacher’s blandishments to draw from nature, Müller concentrated instead on views of the landscapes of his native Saxony and Bohemia.
This charming view through a loose row of red-leafed trees in autumn was made near Kupferberg (Měděnec) overlooking the Eger Graben (Oherský příkop) in the Erzgebirge (Krušné hory) in Bohemia, today part of the Czech Republic.
Yverdon 1748 - 1810 Lausanne
Ruin near Lausanne
Watercolour. 610 x 520 mm.
Vevey 1810-1864 Menton
Rosenlaui with Well- and Wetterhorn
Watercolor. Signed and dated A Calame 1850. 335 x 456 mm.
BALTHASAR ANTON DUNKER
Saal b. Stralsund 1746-1807 Bern
Riverlandscape with an Angler
In the background a church. Pen and watercolor. Sign. and dat. lower left "Dunker.“ 293 x 238 mm.
JOHANN CONRAD GESSNER
1764 Zürich 1826
Hunter with Three Dogs in the Woods in the Valley of the River Sihl
Gouache. Sign. “Conrad Gessner f 1792”. Verso on label designated: “Shilwald 5 Louis...”. 442 x 520 mm.
1815 Genf 1893
Group of trees on a hill
Black pen and watercolour. 445 x 300 mm.
JOHANN HEINRICH MEYER
Zürich1760 - 1832 Jena
"Auf dem Weg nach Pfeffers gegen das Kloster"
Pen in black ink and chalk, watercolor. 1806. Bottom right signed and dated "Meyer 1806". 424 x 573 mm.
1827 Luzern 1909
Watercolor. Signed and dated "R. Zünd 1853“. 524 x 725 mm.
1766 Genf 1843
Study of Clouds
White chalk on blue prepared paper.
180 x 223 mm.
JOHANN CHRISTIAN KLENGEL
1741 Kesselsdorf near Dresden – Dresden 1824
Young Girl in an Interior Standing by a Cradle ca. 1785
watercolor with pen and black ink over traces of pencil on laid paper; 195 x 143 mm (7 5/8 x 5 5/8 inches)
signed in pen and ink at lower right Klengel del.
Heino Maedebach, Coburg
Johann Christian Klengel was supported from early in his career by members of the academy in Dresden. In 1768 he came to live in the house of Christian Wilhelm Ernst Dietrich, called Dietricy (1712–1774), one of the academy’s professors, who taught him landscape painting and etching. Klengel himself became a member of the Dresden Academy in 1777. He travelled to Italy in 1790–92. He then returned to Dresden and was appointed associate professor for landscape painting in 1800, receiving a full professorship in 1816. Philipp Otto Runge (1777–1810) called him “one of our greatest landscape painters.”
This charming portrait of a young girl belongs to a group of family scenes Klengel made in the 1780s (cf. Fröhlich Z52 and 53). It is most closely related to a watercolor showing the artist’s wife seated in an interior (Z26).
BARON JOSEPH DURCREUX
Nancy 1735 – 1802 Paris
Portrait of a Gentleman with a fur Collar, turned to the right with a Letter in his Hand
Around 1792. Black charcoal and buffer, black, white and brown chalk on beige-brownish paper. Wm. Horn, ca. 1780. 440 x 360 mm
FRANZ XAVER WINTERHALTER
1805 Menzenschwand in the Black Forest – Frankfurt/Main 1873
Portrait of Grand Duchess Sophie von Baden 1828
pencil and grey wash on wove paper; 216 x 160 mm (8 1/2 x 6 3/8 inches)
signed, dated, and annotated Winterhalter fecit Carlsruhe 1828
Winterhalter received his first traning as a draughtsman and lithographer in the workshop of Karl Ludwig Schüler in Freiburg before going to Munich in 1823 at the age of eighteen. In 1825, supported by a stipend granted by Ludwig I, Grand Duke of Baden he studied at the academy in Munich first with Peter Cornelius and then with the fashionable portraitist Joseph Stieler who became his mentor.
In 1828 he became the drawing master to Sophie Margravine, later Grand Duchess of Baden in Karlsruhe. Our drawing was created in Karlsruhe the same year, depicting his new patroness.
1787 Eisfeld – Kassel 1853
Brustbild einer jungen Frau – Half-Length Portrait of a Young Woman 1823
pencil with accent in pen and black ink on thin wove paper; 166 x 114 mm (6 9/16 x 4 1/2 inches)
monogramed and dated in pen and ink at lower right CB 1823
1806 Oels (Silesia) – Loschwitz 1882
Der alte Runkel – Old Runkel 1832
pencil on thin wove paper; 246 x 203 mm (9 3/4 x 8 inches)
monogramed and dated at right JH d. 27.t Juni 1832; titled below der alte Runkel
“S. BUFFA” (STANISLAS BUFFARDIN ?)
1805 Avignon – Paris 1860
Portrait of a Man (after ALBERT KORNECK) 1835
black chalk and ink with white heightening on brown laid paper; 236 x 185 mm (9 5/16 x 7 1/4 inches) signed in pencil at right S. Buffa / fct. Dcmbr 35
1807 – Berlin – 1880
Portrait of a Man 1830
pen and ink, wash, and chalk with white heightening on brown wove paper; 227 x 197 mm (8 15/16 x 7 ¾ inches)
signed in pencil at lower right Gustav Stier fc. / Dez. 1830
Carl Heumann, Chemnitz (Lugt 2481a)
Stuttgarter Kunstkabinett Noman Robert Ketterer, sale 29, November 29, 1957, lot 352 (as by “Gustav Wilhelm Stier”)
Sammlung Renker (Papierfabrik Zerkall Renker & Söhne), Düren
When the drawing was offered as part of the Heumann collection in 1957 the catalogue entry describes it as by “Gustav Wilhelm Stier” and gives as dates for the artist those of the architect Friedrich Wilhelm Ludwig Stier. The latter was a cousin of Gustav Stier who was also an architect who worked in the studio of Schinkel from the late 1820s until 1837. He is not otherwise known as a portraitist but our drawing is explicitly mentioned in his entry in Thieme/Becker.
1860 – Ostende – 1949
The Artist’s Sister Mitche Seated at a Table ca. 1885–86
black crayon and pen and ink on a wove-paper notebook sheet; 110 x 172 mm (4 5/16 x 6 3/4 inches)
1876 Dresden – Worpswede 1907
Landscape ca. 1905/06
charcoal on blue paper
annotated at lower right f. P.M.B. / T. Modersohn
Günter Busch, Bremen
The drawing is one of the “stark late Worpswede landscape drawings.” Anne Röver-Kann notes about them: “The path to those convincingly simple compositions is hardly imaginable without the early Italian paintings that Paula Modersohn-Becker had studied in Paris and Berlin” (“‘Die alten Meister bringen auch ein tüchtig Stück weiter.’ – Zeichnen im Pariser Lovure – Wege zum eigenen Bild II,” in: Anne Buschhoff/Wulf Herzogenrath (eds.), Paula Modersohn-Becker und die Kunst in Paris um 1900. Von Cezanne bis Picasso, exhibition catalogue, Kunsthalle Bremen, Munich 2007, p. 235).
The authenticity of the drawings has been confirmed by the daughter of the artist Mathilde Modersohn (known as “Till”; 1907–1998).